Weeks 1-4: Freestanding sculpture of the Classical Period

Pollitt, Art and Experience in Classical Greece, entire book.

First Midterm on Classical Sculpture

Weeks 5-7: Freestanding sculpture of the Hellenistic Period

Pollitt, Art in the Hellenistic Age, pp. 1-184, 250-275.

Second Midterm on Hellenistic Sculpture

Weeks 8-13: Architecture and architectural sculpture

Review relevant portions of Pollitt, Art and Experience in Classical Greece.

Pollitt, Art in the Hellenistic Age, pp. 230-249.

Weeks 14-15: Wall painting and vase-painting

Review relevant portions of Pollitt, Art and Experience in Classical Greece.

Pollitt, Art in the Hellenistic Age, pp. 185-229.

Final Examination at scheduled hour:

Tuesday, May 10, 3:30-6:30 PM

Outline for paper (due between first and second midterms), which should include the following parts:

I.  Basic information, i.e. topic (please inlude illustrations of your chosen topic) and evidence to be considered, such as which copies of an original will be discussed

II.  Problems relating to your sculpture that you will address in your paper

III.  Ancient literary sources ó include the name of an ancient author, the title of the work, the book and line number or chapter and section number of a pertinent passage

IV.  Admirable aspects of your work

V.  Bibliography, following the format for the American Journal of Archaeology (see the three links below):

Format for citing printed publications in your paper.

Format for citing web sites in your paper.

Explanation of standard abbreviations of journals and other archaeological publications.

Paper (due between second midterm and final)

Analysis of freestanding sculpture, to be chosen from list of suggested topics, or can be an approved topic of your choice.

In the introductory factual portion, you should provide the name of the work, the sculptor's name (if known), and the city or region of manufacture of the work. If there is uncertainty about any of these aspects, explain the different opinions that have been expressed, and what you feel is the most convincing view to adopt, and why. Describe the original setting of the work (if known); also name the current location of the work or its surviving copies, providing inventory numbers (if available). Also provide the date of the work; if dealing with one or more copies of a lost original, give both the date of the original and that of the copy or copies (if available). If there is controversy about the dating, explain the different dates that have been proposed and the reasons for these datings, and express a justified opinion about what you feel is most likely to be the correct date. Give the material of the work; if dealing with one or more copies of a lost original, name both the material of the original sculpture and the material(s) of the copy or copies. Provide the scale of the work; if dealing with one or more copies, give the scale of what appears to be the most reliable copy. Explain the accepted theme of the work, and explain any attributes that support this identification. If there is a problem in identifying the theme of the work, explain the nature of the problem, summarize previously-proposed identifications, and state which interpretation you find most convincing, with reasons stated for your acceptance of this view.

Quote any ancient literary sources (see the reserve books under "Literary sources", and G. Richter's Sculpture and Sculptors of the Greeks) that mention your work, and explain how these ancient mentions of your work add to our knowledge of the work.

The main body of the paper should be a careful descriptive analysis of the work, which should be written in your own words and which should demonstrate that you have looked carefully at your work. The analysis should explain what aspects of the sculpture you think would have been admired in antiquity, and why you think we should study the work today. The second part of the question should include an explanation of the area of study that you are engaged in (such as art history or sculpture), and what the work under discussion can contribute to your field of endeavor. Support your argument with detailed descriptions what you feel are the workís most laudable features, both in terms of ancient and modern standards of excellence.

Some of the specific aspects you should discuss, along with others of your own invention, are: the pose and the type of composition the pose creates, as well as any evidence of anatomical response to the movement portrayed; drapery, with identifications of the drapery type(s), its arrangement, and its relation to the underlying form (does it reveal or obscure the underlying form?); proportions, whether natural or mannered, to create a particular effect; anatomical definition, to include a consideration of idealization through simplification (if this is the case), or accuracy and subtlety of representation (if this is the case); and the head type, with attention to any expressive characteristics, the handling of proportions, the basic structure of the head, and the generalized or subtle handling (whichever pertains to your work) of the facial features and the hair.

You are also encouraged to describe general characteristics that you feel contribute to the excellence of your work. For example, if your sculpture has a calm demeanor, explain what ideal state of mind your work expresses. If your work has a lively attitude, elucidate any dynamic qualities of your work, such as vigorous poses and billowing drapery, and explicate what type of heroic qualities your work embodies. Also, feel free to bring in modern criteria for excellence, such as strong design; be certain, though, to explain what you mean by these criteria, and to carefully make clear just how they are exemplified in your work.

Papers for undergraduates should have a text of about 4-6 pages, and those of graduate students should be 6-8 pages long. Besides the text, the papers should include footnotes or endnotes, providing exact page number references for lifted ideas, for direct quotes and for paraphrased text. A bibliography of library and internet sources used for the preparation of the paper must be included. Undergraduates must demonstrate that at the very least they have consulted a substantial number of the reserve books and internet sites, and graduate students must demonstrate that they have consulted additional materials, particularly articles from scholarly journals. Additional materials can be located by consulting the bibliography given in your texts and in reserve books, by consulting catalog entries in Perseus and discussions of sculptors in Stewart, One Hundred Greek Sculptors, by searching the library's GIL catalog (go to "Precision/Guided" Search, and look under "Keyword Anywhere", trying out all possible spellings of the artist's name and the name of the work) and by using the online GALILEO bibligraphies called L'Année Philologique and Art Index; the former can be found under title AnPhilNet; and the latter can be computer-searched for the years 1984 ff., in Art Index, and for the years 1929-1984, in Art Index Retrospective.  All these online bibliographies are Arts &Humanities databases in GALILEO; see the Bibliographic Databases: Electronic below). Include in your paper numbered photocopies or printouts from the internet. Make reference to these figure numbers in your textual discussion.
 

Bibliography of Reserve Books

Texts

N 5630 .P54 1972 J.J. Pollitt, Art and Experience in Classical Greece

(2 copies) (1972)

N 5630 .P55 1986 J.J. Pollitt, Art in the Hellenistic Age (1986)
 
 

Bibliographic Databases: Electronic

GALILEOdatabases:

GALILEO option Art Index, indexes articles from 1984 ff. on all online periods of art history from ca. 125 journals; can be searched by subjects and key words. For years 1929-1984, see Art Index Retrospective

Online AnPhilNet, online version of LíAnnée Philologique, most comprehensive annual bibliography for classical antiquity; includes hundreds of journals, books and some dissertations; online version does full-text searches.
 

Sculpture Catalog, at Perseus web site

Andrew Stewart, One Hundred Greek Sculptors: Their Careers and Extant Works. With articles on major Greek sculptors, that include translations of passages from ancient textual sources, extensive bibliographies, and lists of works.

Beazley Archive: Sculpture: Collection of Casts. Useful basic information on sculptures, such as scale, provenance, and current location.

Ancient texts, at Perseus web site

Oxford Classical Mythology Online.

Online Beazley Archive: Dictionary. "The Dictionary contains illustrated explanations of names, technical terms, and other vocabulary relating to Greek history, myth, geography, art and architecture. It is constantly being updated and expanded."

Main Ref DE59 .P7 Princeton Encyclopedia of Classical Sites (1976), reference room, with articles on archaeological sites where buildings with sculptures were located. See also online version of Encyclopedia, on Perseus web site, with images of sites and links to other Perseus entries on buildings and architectural sculptures at the sites.

See also Site Catalog, on Perseus web site

General References on Reserve and in Main Reference Room, Main Library

Main Ref DE5 .O9 1996, Oxford Classical Dictionary (3^rd ed.1996), stacks in reference room and at reference desk, with articles on ancient sculptors, historical and mythological characters, and ancient authors (with citations of translations of these authors).

BL715 .G713 1986 P. Grimal, The Dictionary of Classical Mythology (1986), for full recountings of ancient myths.

BL721 .R65 1959 H.J. Rose, Handbook of Greek Mythology: Including its extension to Rome (1959)

BL721 .R65 1991 Ibid. (1991)

Main Ref BL303 .T75 1970 E. Tripp, Crowell's Handbook of Classical Mythology (1970), reference room, for summaries of myths and citations of major ancient textual sources.

Main Ref and Reserve Desk N7760 .V3 1991 Frances Van Keuren, Guide to Research in Classical Art and Mythology (1991), reference room and reserve desk; see "Greek Sculpture" entry, pp. 147-156.

General books on Classical and Hellenistic Greek Art, including sculpture

N6530 .B35 J.D. Beazley and B. Ashmole, Greek Sculpture & Painting to the End of the Hellenistic Period (1932)

N5630 .B374 2004 M. Belozerskaya and Kenneth Lapatin, Ancient Greece : art, architecture, and history (2004).

N5630 .B58 1996 J. Boardman, Greek Art (1996)

N 5630 .B74 R. Brilliant, Arts of the Ancient Greeks (1973)

N 5630 .C296e R. Carpenter, The Esthetic Basis of Greek Art of the 1959 Fifth and Fourth Centuries (1959)

N 5630 .C4613 1972 J. Charbonneaux, Classical Greek Art (1972)

N 5620 .C46513 J. Charbonneaux, Hellenistic Art (1973)

N5630 .C73 R.M. Cook, Greek Art: Its Development, Character and Influence (1972)

NB85 .F36 1972 P. Fehl, The Classical Monument: Reflections on the Connection between Morality and Art in Greek and Roman Sculpture (1972)

N5630 .F85 2000 M.D. Fullerton, Greek Art (2000)

N 5340 .F72 H.A. Groenewegen-Frankfort and B. Ashmole, Art of the Ancient World: Painting, Pottery, Sculpture, Architecture from Egypt, Mesopotamia, Greece, and Rome (1971)

N 5630/H37 C.M. Havelock, Hellenistic Art (1970)

N5630 .H5 1998 N. Himmelmann, Reading Greek Art (1998)

N 5630 .H64 R.R. Holloway, A View of Greek Art (1973)

N 5630 .K3613 1992 G. Kantorowicz, The Inner Nature of Greek Art (1992)

Folio N5630 .L34 1995 C. Laisne, Art of Ancient Greece (1995)

N5630 .O54 J. Onians, Art and Thought in the Hellenistic Age: The Greek World View 350-50 B.C. (1979)

N5630 .O73 1998 R. Osborne, Archaic and Classical Greek Art (1998)

Folio N5630 .P3613 1988 K. Papaioannou, The Art of Greece (1989)

DF130 .P44 1998 J.G. Pedley, Greek Art and Archaeology, 2^nd ed. (1998)

N5630 .R49 1987 G. Richter, A Handbook of Greek Art (1987); 2^nd copy in Main Reference

N5630 .R60 vs. 1-2 M. Robertson, A History of Greek Art (1975)

N5630 .R632 M. Robertson, A Shorter History of Greek Art (1981)

N 5630 .S3313 1967A K. Schefold, The Art of Classical Greece (1967)

N 5630 .S3713 1972 W. Schuchhardt, Greek Art (1972)

PA25 .G7 no. 22 B.A. Sparkes, Greek Art (1991)

N5630 .S65 1997 N.J. Spivey, Greek Art (1997)

N5633 .S74 1997 A. Stewart, Art, Desire, and the Body in Ancient Greece (1997)

N5630 .V4750 1980 C. Vermeule, Greek Art: Socrates to Sulla, from the Peloponnesian Wars to the Rise of Julius Caesar (1980)

N5613 .W4 T.B.L. Webster, The Art of Greece: The Age of Hellenism (1966)

N5613 .W4 1967 T.B.L. Webster, Hellenistic Art (1967)

NB90 .W66 1986 S. Woodford, An Introduction to Greek Art (1986)

Architectural Sculptures of the Temple of Zeus at Olympia and Parthenon, and Great Altar of Pergamon

NB91 .O6 A78 B. Ashmole and N. Yalouris, Olympia: The Sculptures of the Temple of Zeus (1967)

Folio NB91 .A7 B63 1985 J. Boardman, The Parthenon and its Sculptures (1985)

Folio NB91 .A7 B8513 F. Brommer, Sculptures of the Parthenon: Metopes, Frieze, Pediments, Cult Statue (1979)

NB91 .P4 F76 2000 From Pergamon to Sperlonga : sculpture and context ed. by N.T. de Grummond and B.S. Ridgway (2000)

Greek sculpture

NB90 .A27 S. Adam, The Technique of Greek Sculpture in the Archaic and Classical Periods (1966)

NB94 .B48 1967 M. Bieber, Laocoon: The Influence of the Group since its Rediscovery (1967)

Folio NB90 .B586s M. Bieber, Sculpture of the Hellenistic Age (1955)

Folio NB90 .B586S 1961 Ibid., Rev. ed. (1961)

NB90 .B63 1985b J. Boardman, Greek Sculpture: The Classical Period: A Handbook (1985)

NB94 .B622 1995 J. Boardman, Greek Sculpture: The Late Classical Period and Sculpture in Colonies and Overseas (1995)

NB94 .B76 B.R. Brown, Anticlassicism in Greek Sculpture of the Fourth Century B.C. (1973)

Folio NB90 .B74 1992 D. Buitron-Oliver, The Greek Miracle: Classical Sculpture from the Dawn of Democracy (1992)

Folio NB140 .B87130 1981 A. Busignani, The Bronzes of Riace (1981)

NB90 .C296g R. Carpenter, Greek Sculpture: A Critical Review (1960)

NB90 .D48130 P. Devembez, Great Sculpture of Ancient Greece (1978)

NB90 .D5 1971 G. Dickins, Hellenistic Sculpture (1971)

NB90 .F992M A. Furtwängler, Masterpieces of Greek Sculpture (1964)

NB163 .V62 C575 1995 C. Havelock, The Aphrodite of Knidos and her Successors: A Historical Review of the Female Nude in Greek Art (1995)

NB140 .H39 1992 D.E.L. Haynes, The Technique of Greek Bronze Statuary (1992)

Folio NB140 .F5 1983 C. Houser, Greek Monumental Bronze Sculpture (1983)

NB98 .J66 F. Johnson, Lysippos (1927)

NB90 .L36 1969 A.W. Lawrence, Later Greek Sculpture, and its Influence on East and West (1969)

Folio NB90 .L955 1960 R. Lullies and M. Hirmer, Greek Sculpture (1960)

NB135 .M38 1996 C.C. Mattusch, Classical Bronzes: The Art and Craft of Greek and Roman Statuary (1996)

Folio NB135 .M39 1996 C.C. Mattusch, The Fire of Hephaistos: Large Classical Bronzes from North American Collections (1996)

NB140 .M38 1988 C.C. Mattusch, Greek Bronze Statuary from the Beginnings through the Fifth Century B.C. (1988)

NB101 .P63 1995 W.G. Moon, ed., Polykleitos, the Doryphoros, and Tradition (1995)

NB98 .M668 P. Moreno, Lisippo (1974)

PA25 .Y17 vol. 30 O. Palagia and J.J. Pollitt, Personal Styles in Greek Sculpture, Yale Classical Studies vol. 30 (1996), with articles on Polykleitos, Pheidias, Praxiteles and Lysippos.
Main Ref NB164 .R3 G. Richter, Portraits of the Greeks (1965), reference room

NB 1296.3 .R52 1984 Ibid., abridged and rev. by R.R.R. Smith (1984)

NB90 .R54 1970 G. Richter, Sculpture and Sculptors of the Greeks (1970)

N64 .R53 1992 S. Richter, Laocoon's Body and the Aesthetics of Pain: Winckelmann, Lessing, Herder, Moritz, Goethe (1992)

NB90 .R564 B.S. Ridgway, Fifth Century Styles in Greek Sculpture (1981)

NB90 .R565 1997 B.S. Ridgway, Fourth-Century Styles in Greek Sculpture (1997)

NB94 .R535 1989 v. 1-3  B.S. Ridgway, Hellenistic Sculpture (1989ff.)

NA3350 .R53 1999 B.S. Ridgway, Prayers in Stone: Greek Architectural Sculpture ca. 600-100 B.C.E. (1999)

NB94 .R54 1984 B. Ridgway, Roman Copies of Greek Sculpture: The Problem of the Originals (1984)

NB90 .R57 B. Ridgway, The Severe Style in Greek Sculpture (1970)

Folio NB140 .R613 C. Rolley, Greek Bronzes (1986)

NB94 .S63 1991 R.R.R. Smith, Hellenistic Sculpture: A Handbook (1991)

NB90 .S66 1996 N. Spivey, Understanding Greek Sculpture: Ancient Meanings, Modern Readings (1996)

PA3015 .S82 S74 2001 D. Steiner, Images in Mind: Statues in Archaic Greek Literature and Thought (2001)

NB90 .S74 1990 v. 1-2 A. Stewart, Greek Sculpture: An Exploration (1990)

NB101 .V4 C. Vermeuele, Polykleitos (1969)

Literary sources on Greek sculpture

N5610 .P6 1968 K. Jex-Blake and E. Sellers, Elder Pliny's Chapters on the History of Art (1968)

NB90 .J7 1966 H. Stuart Jones, Select Passages from Ancient Writers Illustrative of the History of Greek Sculpture (1966)

N7476 .P64 J.J. Pollitt, Ancient View of Greek Art (1974)

N5630 .P56 1965 J.J. Pollitt, The Art of Greece 1400-31 B.C.: Sources and Documents (1965)
 
 

Suggested Paper Topics for Analysis of Freestanding Sculpture

and Selected References from Texts and Reserve Books
 

Greek Original Sculptures
 

Kritian Boy

Pollitt, Art and Experience in Classical Greece (on reserve), fig. 4

Robertson, Shorter History of Greek Art, fig. 71

Riace Bronze Warriors (one or both)

See reserve books on bronze sculpture, particularly A. Busignani, The Bronzes of Riace (1981)
 

Delphi Bronze Charioteer

Pollitt, Art and Experience in Classical Greece, fig. 20

Robertson, Shorter History of Greek Art, fig. 75
 

Artemision God

Pollitt, Art and Experience in Classical Greece, fig. 22

Robertson, Shorter History of Greek Art, fig. 79
 

Nike by Paionios

Pollitt, Art and Experience in Classical Greece, fig. 54

Robertson, Shorter History of Greek Art, fig. 171
 

Agias, copy of Lysippan original?

Pollitt, Art and Experience in Classical Greece, fig. 77

Robertson, Shorter History of Greek Art, fig. 228

Mattusch, Classical Bronzes, fig. 3.1.b
 

Nike of Samothrace

Havelock, Hellenistic Art, fig. 123

Pollitt, Art in the Hellenistic Age, fig. 117

Robertson, Shorter History of Greek Art, fig. 274
 

Mausolus by Bryaxis?

Robertson, Shorter History of Greek Art, figs. 214 and 150
 

Aphrodite from Melos

Havelock, Hellenistic Art, fig. 96

Pollitt, Art in the Hellenistic Age, fig. 172
 

Laocoon by Hagesandros, Polydoros and Athenodoros

Havelock, Hellenistic Art, fig. 146

Pollitt, Art in the Hellenistic Age, fig. 124

Robertson, Shorter History of Greek Art, fig. 280

Bieber, Laocoon

Richter, Laocoon's Body and the Aesthetics of Pain
 

Seated Boxer by Apollonios

Havelock, Hellenistic Art, fig. 146

Pollitt, Art in the Hellenistic Age, fig. 157

Mattusch, Classical Bronzes, fig. 1.9 and pl. 3
 

Copies of Famous Originals
 

Myron's Diskobolos

Pollitt, Art and Experience in Classical Greece, fig. 27

Robertson, Shorter History of Greek Art, fig. 157
 

Polykleitos' Doryphoros

Pollitt, Art and Experience in Classical Greece, fig. 49

Robertson, Shorter History of Greek Art, fig. 155

A. Stewart, Art, Desire, and the Body in Ancient Greece (1997), pp. 86-97

Web site for ARHI 2111H, the honors version of ARHI 3000 (with links to other sites with info on and images of copies of Polykleitosí Doryphoros):

Polykleitos' Diadoumenos (Michael C. Carlos Museum, Emory University, Atlanta, has a Roman marble copy of the head of this statue)

Robertson, Shorter History of Greek Art, fig. 156

N514 .A88 Michael C. Carlos Museum, Emory University: A

A67 1996 Handbook (1996), pp. 60-61, also available in Carlos Museumís bookstore.
 

Praxiteles' Hermes and Dionysos, Hellenistic copy?

Pollitt, Art and Experience in Classical Greece, fig.64

Robertson, Shorter History of Greek Art, fig. 191
 

Praxiteles' Aphrodite from Knidos

Pollitt, Art and Experience in Classical Greece, fig. 67

Robertson, Shorter History of Greek Art, fig. 194

C. Havelock, The Aphrodite of Knidos and her Successors

A. Stewart, Art, Desire, and the Body in Ancient Greece (1997), pp. 97-107
 

"Medici" Aphrodite by Kephisodotos the Younger

Robertson, Shorter History of Greek Art, fig. 282

C. Havelock, The Aphrodite of Knidos and her Successors
 

Crouching Aphrodite by Doidalsas

Havelock, Hellenistic Art, fig. 84

Pollitt, Art in the Hellenistic Age, fig. 50

Robertson, Shorter History of Greek Art, fig. 285

C. Havelock, The Aphrodite of Knidos and her Successors
 
 

Lysippos' Apoxyomenos

Pollitt, Art in the Hellenistic Age, fig. 39

Robertson, Shorter History of Greek Art, fig. 225
 

Lysipposí "Farnese" Herakles (Michael C. Carlos Museum, Emory University, Atlanta, has a Roman marble copy of the head and a Roman terracotta copy of the full figure)

N514 .A88 Michael C. Carlos Museum, Emory University: A

A67 1996 Handbook (1996), pp. 64-65, also, available in Carlos Museumís bookstore.
 

Sacrificing Girl by Phanis

Havelock, Hellenistic Art, fig. 114

Pollitt, Art in the Hellenistic Age, fig. 49

Robertson, Shorter History of Greek Art, fig. 232
 

Tyche of Antioch by Eutychides

Havelock, Hellenistic Art, fig. 117

Pollitt, Art in the Hellenistic Age, fig. 1

Robertson, Shorter History of Greek Art, fig. 230
 

Gaul Monument by Antigonos and Isigonos

Havelock, Hellenistic Art, figs. 140-142

Pollitt, Art in the Hellenistic Age, figs. 85-87

Robertson, Shorter History of Greek Art, fig. 272
 

Polyeuktos' Demosthenes

Pollitt, Art and Experience in Classical Greece, fig. 82

Pollitt, Art in the Hellenistic Age, figs. 55-56

Robertson, Shorter History of Greek Art, fig. 268